Reviews: Timo Tolkki's Avalon, Seventh Dimension, Kent Hilli, Vesicarum (Reviews By Matt Bladen)

Timo Tolkki’s Avalon – The Enigma Birth (Frontiers Records)

The fourth entry into the Avalon series of records from Finnish power metal legend Timo Tolkki once again sees him team up with producer/guitarist Aldo Lonobile (Sweet Oblivion), he has also brought in yet more talented guest singers to appear on this record, giving each of them a different sound but ultimately it’s an album of neo-classical rampages and soaring power ballads from the man who founded Stratovarius and wrote the blue print for European power metal. A song such as Without Fear is exactly what you’d want from Tolkki, pure rampaging power metal with classical style playing, it’s the kind of song that Tolkki used to write in Stratovarius and has made his name doing so. Happily here he has Fabio Lione (Rhapsody) providing the vocals for that extra shot of theatrics. Lione also appears on Dreaming which is another feisty power metal song.

Elsewhere Tolkki collaborator Catarina Nix (Chaos Magic) returns for the poppy I Just Collapse and the melodramatic Memories, which also features Unleash The Archers Brittany Slayes, who also provides roars to The Fire And The Sinner as well. The tracks are catered to the voice, the two featuring Brazilian vocalist Raphael Mendes (Icon Of Sin) sounds like Maiden due to his dead ringer Bruce Dickinson style. For Beautiful lie the record gets more progressive due to Dream Theater man James LaBrie being behind the mic. It’s a myriad of styles but retaining the Timo Tolkki influence throughout, it’s also interesting to hear how the new style of Electronic Dance Metal that band like Amaranthe do, owes so much to Tolkki’s propulsive influence witnessed by ex-Amaranthe man Jake E, picking up the baton on Truth. 

The ballads of the record are resigned to Marina La Torraca (Phantom Elite) who distinct style suits something heavy and emotive, while the final vocalist is Youtube star Pellek, who I’ve never heard of but must be liked as he opens the record! Densely layered music from Tolkki and a conceptual feel throughout, it’s just great that after all these years and several issues, Timo Tolkki is still making great quality European power metal. 8/10

Seventh Dimension – Black Sky (Corrupted Records)

Much like their similar namesake, and fellow Swedes, Seventh Wonder, Seventh Dimension have followed up an ambitious concept record with one that is more straightforward style of progressive metal. I realise that progressive and straightforward are contradictory but after double concept record just having one disc and about 7 tracks may seem simpler. Musically they have tried to become more focused and heavier adding darker themes and more down-tuned elements to their music so there’s influences of Shadow Gallery, Dream Theater (Black Sky: Assembly), Symphony X and even Opeth (Kill The Fire). This turn towards the dark side makes for a listening experience that will appeal to metalheads as well as prog fans. A bit like when Dream Theater released A Train Of Thought it’s heavy but with the more conceptual touches Seventh Dimension have been associated with in the past.

Across the nine songs here the first few show this more focused, harder-edged style before it we have two song, 15 minute title track suite; Black Sky: Assembly/Black Sky: Into The Void, where those conceptual flourishes return. The musicianship is of high quality with guitarist Luca Delle Fave a bit of a virtuoso like Petrucci or Romeo (he also produced the record), the rhythm section of bassist Rikard Wallström and drummer Marcus Thorén guides the undulating riffs with some classic stop-start grooves, various time signature shifts and lots of jazzy breaks. The more bittersweet and orchestral flavours brought by Erik Bauer’s keys, though he also has full on solo chops on numerous tracks. Finally vocalist Nico Lauritsen, has a sonorous, poignant, expressive vocal that’s part Mikael Akerfeldt, part Matt Barlow. I came across Seventh Dimension as an unknown, however after my first listen to this record I went back to their earlier stuff, then listened to this again. That my friends is the sign of a good band! 9/10

Kent Hilli – The Rumble (Frontiers Music Srl)

Kent Hilli has had an interesting path to music, he was a professional footballer in his early life, before taking up the mantle of frontman later in his life than many singers, throughout the early 2000’s he was cover singer before forming Perfect Plan with whom he has released 2 albums. The Rumble though is his debut solo record, his astounding, honeyed voice perfect for these melodic rock anthems that come straight out of that 80’s radio rock era. Hilli’s vocal power is reminiscent of David Coverdale, Steve Perry, Joe Lynn Turner and Graham Bonnet, making for lots of soulful rockers and emotional ballads. It’s amazing to think that Hilli has only really been in ‘professional’ bands since 2014 as his voice has the timbre and style is that of someone who has been doing this 30/40-odd years. 

His song writing too is good, it stays to the melodic rock/AOR style but is an homage rather than a pastiche, the bonus being that Mr 80’s retro himself Michael Palace plays everything here. He co-writes a track, Alessandro Del Vecchio has two co-writes and even Kent’s sister Tina has one, the remainder though are all Kent. It makes for a fun listen, Never Be Mine a sunny beach rocker, the title track a bouncy modern edged number, I Can’t Wait full of big Journey-like keys. There’s also a couple of saccharine ballads with Heaven Can Wait (with one of the most used titles in rock music) adding gospel, the massive Still In Love though is the most calorific in terms of sweetness, closing the album with lots of drama. For those that liked Perfect Plan, The Rumble will be more of that melodic rock goodness. 7/10

Vesicarum – Place Of Anarchy (One Eyed Toad Records)

Place Of Anarchy is London metal crew Vesicarum’s debut record. It’s a meaty morsel of aggressive death metal which features some guest help from deathcore veteran Richard Kane on Rightfully Mine, Helgrind’s Joe Lyndon, who pops up on The Pain I Feel, James Dawson of Bleed Again on Great Decay and The Demonstealer himself on final track Am I To Blame. They all add their own unique talents to the songs they appear on making these songs shift toward the guest’s individual styles. So what about the non-guest songs, well what have is some aurally battering death metal that is part-modern technicality and old school brutality, full of intense solos but also big grooves there’s touches of bands like Coroner, Obituary and even Bolt Thrower, the vocals especially more like groove metal than full death growling. 

The band say this debut is darker than anything they’ve done previously and you have to agree, the lyrics talk about isolation and depression while the music rages against these feelings hammering home the collective emotional state of guitarist Martin Shipton, drummer Donal McGee and vocalist Glynn Neve. The latter bearing the collective soul on the slow and crushing Great Decay and Through My Darkest Days (where there’s even some clean vocals). A decent death metal record from this London based band, certainly ones to watch as they will mature as a band. 7/10

Reviews: Mammoth WVH, Thy Kingdom Will Burn, Dim Gray, Chalice Of Sin (Reviews By Paul Hutchings, Zak Skane, Alex Swift & Matt Bladen)

Mammoth WVH – Mammoth WVH (Explorer 1 Records) [Paul Hutchings]

The debut record from Wolfgang William Van Halen, son of the great Eddie Van Halen. Named Mammoth as it was the name used by Van Halen before they became Van Halen in 1974, Wolfgang already has a solid track record in the recording world. Two albums and 14 years with Van Halen before his father’s sad demise, along with a brace with Alter Bridge guitarist Mark Tremonti (Cauterize and Dust), all before he reaches the grand old age of 30. The musical style is very much in the modern hard rock vein, with plenty of melody, harmonies and a gentle style that gets the foot tapping at every opportunity. WVH is an amazing talent, playing and singing every note on the album. Technically the album is superb, with his guitar playing shining through. He also has a great clean vocal style, rich and warm. 

There are hooks galore, as songs like raucous opener Mr Ed with some familiar double tapping lead work, and the anthemic Don’t Back Down demonstrate. Music that will appeal to the wider tastes of the hard rock fan, there’s probably enough to tempt a listen from those whose tastes are either side as well. There’s some gentle variation, such the lighter blues feel of Resolve, the punchier riffs of You’ll Be The One, the emotion of Circles or the melodic rock of Mammoth. It’s crafted, polished stadium rock by numbers at the end of the day. There’s little in the way of danger or challenge, the music sitting in the same ballpark as the Foo Fighters or Alter Bridge, prime for the MOR rock stations in the US, and Planet Rock in the UK. 

Expect to see Mammoth WVH arrive on the bills of Download and Ramblin’ Man Fair in 2022, for this is the audience he is surely targeting. The good night out for those who like it with guitars but “not too heavy”. It’s well performed and composed, a little too long and ultimately maybe a little routine and safe. But the giant crab on the album cover certainly gets the thumbs up! 7/10

Thy Kingdom Will Burn - Thy Kingdom Will Burn (Scarlet Records) [Zak Skane]

Hailing from Kouvola Finland, Thy Kingdom Will Burn are a four piece melodic death metal band that have Brutal Death Metal roots. Now signed to Scarlet Records with a worldwide deal, the band have released their ten track debut album. Starting with the opening tracks tribal drum patterns and acoustic guitar melodies I knew I was in for a good slice of Melodeath. The following track Alone I Stand starts out slapping me in the face with this classic Melodeath pedal tone riff that you would hear from classic bands of this sub-genre like In Flames and At The Gates before the song greets me with blasts beats and one of the first but many catchy choruses from this album. The choruses sung from the vocalist/guitarist Sami Kujala gritty baritone voice reminds me of the vocalist from the band Panic Cell which puts a unique twist to the Melodeath sound. 

The momentum is carried on with Follow The Fallen and Rise Against, Rise Against provides us with this swing groove filled guitar riff that uses a Digitech Whammy (yes the same effect that Rage Against The Machine use) but in a tasteful manner that will still please the Amon Amarth fans. The Black River tones down the dynamics by showing us the bands more Celtic Battle Metal influences (for fans of Ensiferum), that classic 6/8 waltz feel combined with acoustic guitars and clean sung verses before the band kick back in with anthemic distorted lead sections in the choruses. The band pick up the pace and again with the follow up songs like In Company Of Wolves where the band combines catchy melodic riffs and lead lines with blast beats, Unclean shows the bands groovy side with the opening riff taking influence from bands like Megadeth, Metallica and Gus G era Ozzy Osborne before it takes you down a trip of catchy choruses with Pantera swagger. 

Through The Storm brings out the bands symphonic and orchestral side, opening up the song with these haunting string sounds before they accompany the band instrumentation and War! is another Battle Metal inspired tune that will make you want to whip out your sword and shield and pledge your allegiance to Valhalla. Finally their closing track Season Of Sorrow brings out the bands melancholy side, taking influences from bands like Insomnium and Paradise Falls. The band use layers of additional guitars and orchestral instruments to build atmosphere to lead this album to its gracious swan song. 

In conclusion this is an amazing melodic death metal album. The production on this album is astounding all credit to Juho Raiha of Soundspiral Audio (To/Die/For, Swallow the Sun and Wolfheart) who engineered and produced the album, did a great job mixing down all those sonic layers to aid the bands sound. The bands songs and instrumentation is well structured and the track listing is gratefully arranged. The only criticism that I could only point out is that some of the lyrics sounded a bit shoe-horned especially in the song Alone I Stand and I felt like the intro section to Follow The Fallen strayed on a bit too long. Other and that I give this album sold 9/10

Dim Gray – Flown (Grim Day Records) [Alex Swift]

Beautifully intertwining Nordic folk textures with serene experimentation, listening to Norway’s Dim Gray makes for a fascinating and intriguing journey. Inspired by loss and solitude, the piece feels like an exploration of the human response to grief, be that personal or social. Flown is grand sounding yet also cerebral and atmospheric and a range of sound palates are employed from the menacing growl of guitars to the rush and swell of orchestrals. So that everyone is in no doubt, this piece is brilliant in its emotional depth, while being instrumentally layered and diverse as to keep the listener enthralled.

“Are you listening. The story begins at the end” flows the first line like a gentle breeze that soothes yet also chills you. The reverberating vocals accompanied by the haunting timbre of guitars and strings convinces you of the sadness contained within the opener. Abundantly beautiful is the way the layers of orchestrals and melodies swell, influencing and understanding the sensitive state which the first few minutes of this album inspires in you. The Wave We Thought We’d Ride Forever places at its centre a ceaseless thud like that of a heartbeat that’s sustained through a lifetime of colour and experience, represented here by the myriad of joyous instrumentals that spring to the forefront in moments of pure liberation from the concepts of decay and temporality which underline the storytelling. 

One of the most gorgeous moments here is Closer – inspiring with a range of mercurial textures the song takes its cues from folk and traditional music while also seeming distinctly innovative through the way the elusive effects and nourishing sound of the piece draw you into the protagonists deep desire to escape the world they are trapped in, to be with someone they love. This passion explodes into a captivating crescendo as the listener hears their own hopes and regrets spilled out into the composition.

Rath proves far more classical in composition, seeing our narrator sooth their melancholy and begin the journey to a place beyond that, the galloping beat, and ambitious outpourings of emotionally enthused textured carrying the piece forward eloquently. This leads us to Wandering. “I’m hearing old whispers in my ear. I’m leaving out those eager sounds, though I fear they know here I am” sound the first few lines in this emotive piano ballad about trying to move on from tragedy, in spite of the fear of a life after that. Although plenty of songs provoke a response in me, it’s a great song that can provoke tears on first listen like this one did. Incidentally, while an interlude such as Flown might do little for me on a less considered and thoughtful album, here it’s the perfect moment of quiet contemplation that allows the listener to comprehend everything they have heard thus far.

Light Anew proves introspective and nourishing – despite sounding akin to a stream of consciousness in musical form, the piece leaves its mark as your left contemplating how a song with so much otherworldly quality can so easily resonate with the way your own feelings often sway and change upon something as simple as a change in the light or shift in your plans. Song For E. by contrast, is far more humble yet no less moving, Despite probably being dedicated to someone in particular, lines like “you left me behind and I’m tired and afraid” are still incredibly relatable to anyone who’s ever wished they had a friends company to aid them in their life endeavour. Again, making the record varied and intriguing is Dreamers Disease which fuses bluesy composition with roaring guitars in a way that is guttural yet exhilarating at the same time. 

Opening on a downbeat and moody note, the piece soon becomes a marching anthem exuding a sense of anger. From here we move into a contemplative moment accompanied by violins and yearning vocals and finally a cathartic folk section which see’s our frontman breaking free from the captivity of his anguish and anxiety in a distinguished and powerful moment of acceptance. Outboros is the aftermath of this – a sombre string ballad, the spacious ambience of this one is distinctive, yet also gives us pause to contemplate the story we’ve just been told, before these musicians provide their own conclusions on Black Sun.

And yes, the closer does encapsulate and provide resolve to Flown. Brilliantly played yet reflective, dramatic yet heartfelt and most importantly coming from a place of sincerity and respect to the subject matter, by the end of this song and indeed this album I felt conscious of the journeys I’ve taken in understanding my own feelings of loss and desolation, and being able to deal with them. “read like the pages of a book. Understood”. I hesitate to say this for fear that Dim Gray may do something even more impactful in the future, but a better debut could not have been hoped for. In Flown they have created something truly affecting. 10/10

Chalice Of Sin – Chalice Of Sin (Frontiers Music Srl) [Matt Bladen]

Founded by Wade Black, who gave the histrionic vocals to American heavy metal acts Crimson Glory/Seven Witches/Leatherwolf, Chalice Of Sin was created in conjunction with Frontiers in-house knob twiddler Alessandro Del Vecchio, he takes bass and keys, Martin Jepsen Andersen has guitars and Mirkko De Maio is behind the stool, for this classic American heavy metal sound akin to Metal Church and of course Crimson Glory due to savage, multi-octave voice of Black, who sings with mixture of Biff Byford and Rob Halford, rubbed in grit and has been a vocal coach for many years. So everyone involved is talented but the album itself…well it’s pretty standard heavy metal. There are bands like Savatage and Tim ‘Ripper’ Owens that do this better, Chalice Of Sin does also suffer from some mid-paced bloat, Miracle and Whiskey being the two worst, the latter having some corny lyrics as well. There are some good bits as Ashes Of The Black Rose is decent but unfortunately it’s followed by the horrible Through The Eyes Of A Child. At 48 minutes it’s probably not going to win over anyone who has never listened to a band Wade Black has been in, and his vocal style while technically proficient can be a little annoying over long period. Fans will check it out others may not be as eager. 5/10    

Reviews: Crobot, Neonfly, Crowne, Brother Against Brother (Reviews By Matt Bladen)

Crobot - Rat Child EP (Mascot Records)

What is essentially some cutting room clippings from their previous album Motherbrain and new tracks, Rat Child EP is really all about the guest appearances than the stoner influence hard rocking of Crobot. Take Everyone Dies it features Steel Panther drummer Stixx Zadina on drums, bass and piano and was based on his piano instrumental Jimmy’s Piano Song, showing that behind the glam rock stupidness of Steel Panther they are talented musicians. Everyone Dies is a big ballad (and actually the best song here) but the rest of the EP is full of the ballsy hard rock. The title track is funky, classic Crobot, as is the Zep-alike Mountain which has Anthrax's Frank Bello, while Kiss It Goodbye is chunky, modern sounding riffer that has Howard Jones adding his melodic voice to the end of the track. It's a stopgap release yes but as the band say themselves it's the "sound you’re yearning for to getcha through". With the promise of new riffs to come, let the Rat Child in for continued good times. 7/10

Neonfly - The Future, Tonight (Noble Demon)

Neonfly have clearly embraced the future on this third album. A band that have previously been deep in the European power/prog metal spectrum, The Future, Tonight is less of a total change, but an addition of maturity to what Neonfly do. The riffs are somehow heavier, the lyrics are more socially conscience and there are huge grooves which you would expect from alternative metal. To me it sounds a lot like the more recent Evergrey record especially the first song This World Is Burning which is a defiant metal track wrapped in synths and huge orchestrations. 

Romesh Dodangoda of Long Wave Studios in Cardiff does a great job in the producer's chair making the albums more contemporary style really hit home. The more mid-paced offering and darker/emotional tone is a way to show off the versatility of vocalist Willy Norton, who is more than just an air-raid siren, adding depth to his performance for tracks like Flesh And Blood, he also works in unison with Björn Strid on the great title track. As for the instrumental contingent new drummer Declan (Dec) Brown adds pace and space behind the kit, giving it welly when needed but knowing when to hold back. Paul Miller's bass is intricate but also driving, especially on the grooving numbers like Beating Hearts or the poppy Another Eden which along with Steal The World features Heart Of Cowards Kaan Tasan for some gruff counterpoints. 

Lastly I just want to say about guitarist Fredrick Thunder who guides all the riffs here brilliantly, technical and accessible, he balances heavy metal with melody and adds lots of flourishes and confident but not overly flashy solos. The great performances on this record add to what is a shift in sound for Neonfly, mature, impassioned and driven, it's a bright future if this is basis of it. 8/10  

Crowne – Kings In The North (Frontiers Music Srl) 

Swedish. Melodic Rock. Supergroup. Yep another one, get out the wax cause this is going to be slick and glossed beyond belief. Comprised of vocalist Alexander Strandell (Art Nation), guitarist/keyboardist/producer Jona Tee (H.E.A.T.), bassist John Levén (Europe), drummer Christian Lundqvist (The Poodles). Kings In The North is their debut record of poppy, anthemic, Eurovision-worthy melodic rock. What immediately drew me to this record is that the song writing here is of a really high level the title track and Unbreakable being two examples of how to do melodic rock brilliantly. Driven by probably two of the most experienced names in Swedish rock music, the rhythm section of John Levén and Christian Lundqvist, pops, with a huge bounce to it getting the head nodding along with tracks like Mad World. 

They are a hefty backbone to build on luckily Jona Tee’s powerful, keyboards and synths are the ideal melodic foil, bolstered by his noted production skills, plus the orchestrations on torch blazer Set Me Free. He plays all the guitars on this record as well though the solo fireworks are ignited by Dynazty’s Love Magnusson, not that it matters much as the solos are the icing on this often saccharine cake. The kind that can only be enjoyed sparingly but one that certainly satisfies. Kings In The North will certainly satisfy any fans of Scandi Melodic Rock, as well as anyone that was brought up with bands such as Europe, Boston and Journey, the latter due to Alexander Strandell’s excellent vocals! Heavy enough for rockers, but with enough AOR melodies for radio and those of a lighter listening disposition. Crowne are a supergroup in the truest sense of the word! 8/10

Brother Against Brother - Brother Against Brother (Frontiers Music Srl)

When you have a winning formula signed to your label, you will try to recreate that magic wherever you can. I am of course talking about the Allen/Lande project, where every entry was a masterclass in top flight hard rock/melodic metal featuring one of the genre's best voices. The final Allen/Lande came in 2014 and since then Allen has done a duet record Annette Olzon but nothing has really recaptured the high flying power of The Battle or The Revenge. So what to do if you're a label, find two of your two current vocal powerhouses (both of whom sound like Jorn and Russell), and pair them with a go-to writing team that includes Alessandro Del Vecchio (bass/keys). 

Both from Brazil, Renan Zonta (Electric Mob) and Nando Fernandes (Sinistra) are great singers and play well off each other. Fernandes the seasoned vet and Zonta the young upstart and as you'd expect songs such as Deadly Sins, the anthemic Two Brothers, the poppy What If and the dramatic Demons In My Life all rich with slick rock rhythms and plenty of synths/orchestrations. There's also the usual Christian imagery that Del Vecchio adds to all of his music, but for AOR/Melodic Metal fans Brother Against Brother could be the first entry into a series that may live up to those Allen/Lande records. For me though it's a good effort but nothing world beating. 6/10 

Reviews: The Day Of The Beast, Reinforcer (Reviews By Richard Oliver)

The Day Of The Beast - Indisputably Carnivorous (Prosthetic Records) [Richard Oliver]

Indisputably Carnivorous is the fourth album from Virginia Beach blackened metallers The Day Of The Beast and their first album for Prosthetic Records. The Day Of The Beast have a sound that sounds like a cross between thrash metal, death metal and black metal with lyrical themes being inspired by horror literature of the ilk of Clive Barker, Bram Stoker and Lovecraft. With a mix of thrash, death and black metal this is of course a heavy and frenzied sound with savage thrash riffing, death metal brutality and black metal evilness. There is quite a lot of melody prevalent as well especially in the guitar parts whilst the vocals from Steve Harris (no not that one) remain on the harsh side veering between black metal screams and a Jeff Walker style snarl.

The most effective songs are the ones where the speed and aggression are kicked up a notch with Disturbing Roars At Twilight, Black Forms Materialise and the absolute rager that is Annihilation Prayer (Shallow Be Thy Graves) being the highlights for me. Where this album suffers a bit is through a lack of variation and a lot of the songs having way too much similarity to each other. By the time you reach the end of the album there isn’t much that sticks in the memory. That being said variation isn’t everything and if you want some savage blackened death/thrash which is impeccably performed then The Day Of The Beast have very much got that covered. 7/10

Reinforcer - Prince Of The Tribes (Scarlet Records) [Richard Oliver]

Prince Of The Tribes is the debut album from German heavy metallers Reinforcer. The band are a five piece from Paderborn and are made up of Logan Lexi (vocals), Marvin Fretter (bass), Niclas Stappert (guitars), Tobias Schwarzer (guitars) and Lasse Schmiedel (drums). The band have a previously independently released EP The Wanderer from 2018 but Prince Of The Tribes is their debut full length album being released by Scarlet Records. 

Reinforcer have a sound that mixes German heavy metal and epic power metal over a collection of songs lyrically based on different historical eras and events. The songs generally retain a middling pace backed by powerful melodies, classic metal riffs and powerhouse drumming. Songs such as Black Sails (which is very reminiscent of Running Wild complete with the pirate themes) and Shieldmaiden combine these traditional metal and power metal elements well whilst Thou Shall Burn and Hand On Heart both kick the pace up a bit at times. Logan Lexi has a voice that is a bit gruffer and lower in register than your typical trad/power metal wailer but it sounds in keeping with the music and Logan remains within his boundaries as a vocalist and gives these songs a dramatic gravitas.

This is a solid piece of trad/power metal. It is something that has been done by countless other bands but the skill and enthusiasm is very apparent throughout this album and Reinforcer have a great bunch of fun, enjoyable and heroic sounding songs. 7/10

Reviews: Eye Of Purgatory, Circle Of Sighs, Overdrivers (Reviews By Paul Hutchings, Paul Scoble & Simon Black)

Eye Of Purgatory - The Lighthouse (Transcending Obscurity Records) [Paul Hutchings]

 
In case you thought you were busy, you haven’t got anything of the busiest man in death metal. One Rogga Johansson who appears to churn out slabs of brutality with such regularity that it’s almost impossible to keep track. Not only has he released music under his own name, but there is a plethora of other vehicles for his relentless creativity. Best known for his work in Revolting and Paganizer, The Lighthouse is the second release under Eye Of Purgatory. The debut release was a purely solo affair but for this sophomore release Johansson has recruited two extra musicians, in the shape of Taylor Nordberg (Ribspreader) on drums, guitar and keyboards and Venom Inc sticksman Jeramie Kling on bass duties. There’s a blistering blend of pure old school death metal, the melodic elements of classic metal and even some black metal tinges in this ferocious record. 

There is plenty of the HM-2 feel in tracks like the title track, the raging Carved In A Stone Bleeding and the brutal assault of Rotting Pathways. This ferocity is balanced by a melodic depth that ensures this has added dimensions to the band’s sound. This is no homage to the old school but with a nod to the likes of Edge Of Sanity, Tiamat etc. it is likely to appeal to that era fans.The songs are crisp, with a crunching edge that ensures the contemporary feel is present. The keyboards add subtle layers in the background, never dominating whilst Johansson’s demonic snarl is ever present. Fast and well crafted, this is another release to add to the continued catalogue of one of the most important men in death metal today. 8/10

Circle Of Sighs - Narci (Metal Assault Records) [Paul Scoble]

Circle Of Sighs are an LA based collective of musicians who prefer to remain nameless, fine by me, I’m dyslexic so it offers me the chance to review an album without the anxiety of possibly spelling surnames incorrectly. The collective have been creating music together since 2018, in that time they have made one album in 2020’s Salo, and have also released several singles. Circle Of Sighs describe their music as Synth-Doom, which suggests doom played on keyboards, which is an element of their sound, but there is so much more going on here than heavy music made with electronics. The album opens with the track Spectral Arms, the song starts slowly with keyboard swells that have a whale song quality. 

A strummed acoustic guitar comes in with soft singing in a style that is similar to the early seventies singer/songwriter scene, a Piano is added and things start to take on a darker hue. The song then takes a turn into slow and very heavy doom that is dense with harsh vocals, the heavier section has a definite electronic, industrial edge to it. The song then takes a turn again, away from the heavy towards the Piano we have heard before, this time with soft, clean vocals in a way that is quite reminiscent of early seventies Pink Floyd. The heavy returns for one last part right at the end of the song and this nastiness takes the song to its end. We Need Legends is a Glitch Techno track that has a lot of similarity to Aphex Twin, the track has some Trip Hop elements in the second half of the the song as well, so maybe imagine Aphex Twin covering a Tricky song. 

Third track A Crystal Crown Of Cosmic Pain is a piece of pulsing, driving Industrial that has a similarity to Nine Inch Nails, but also has bits of Depeche Mode and Gary Newman in the mix as well. Roses Blue is a cover of a Joni Mitchell song, although it didn’t sound like this when Joni did it. The track has a gentle opening with that soft Pink Floyd vibe, it builds until the feeling is much heavier, a guitar solo is added. The track then descends into some very nasty, heavy sections that feels like Blackened Doom, with some very viscous vocals; this is one of the nastiest parts of the album, I love that they saved this for the Joni Mitchell cover. 

Next track, Segue 04, is a disturbing sample, if you want to know what of, have a listen to the album. Title track Narci opens with a blast of sludgy, hardcorey nastiness. The song is aggressive and driving with harsh vocals, in the later part of the track a guitar melody comes in and this tune leads the track into a section where the song morphs into some sixties style jazz, with a lead saxophone that is a little reminiscent of John Coltrane. The amazing thing about this album is that by this point in listening to it, Hardcorey Sludge segueing into Jazz seems perfectly natural. Second to last track Heaven In Flames has a slow build up to a minimal and brooding piece of Industrial, it is darker in feel to A Crystal Crown Of Cosmic Pain, but also has a driving Bass-line. In the second half of the track there is a simple little tune added that gives the track a different feel, there is a similarity with the main tune that runs through the Brian Eno song Another Green World (which was used as the theme tune to the long running BBC arts documentary show Arena). 

Once in this softer second phase, gentle vocals are added before a soft ending. The album ends with the song The Man Who Sold The Wind. How do you end an album as varied and crazily creative as this? Why, with a lovely piece of Southern Rock, that's how. The Man Who Stole The Wind is a fantastic piece of Southern Rock, rooted in the Seventies. It has a gentle acoustic guitar and vocals first half and a much bigger full band style for the second half, the second half also boasts a really tuneful slide guitar solo and it brings this ridiculously inventive and innovative album to an end. Narci is an absolute blast of scattergun creativity. The Collective seem to be able to meld different forms together effortlessly, in a way that is both surprising and incredibly deft. The album feels as if it takes you on a journey of the last 60 years of popular music, if you have an open mind then this album is for you, if you don’t then you should probably avoid it as it will only confuse and upset you. A fantastic and beautiful kaleidoscope of different musical experiences, highly recommended. 9/10

Overdrivers - Rock Out! EP (ROAR! Rock Of Angels Records) [Simon Black]

Sometimes all you need after a particularly naff start to the week, is some good old fashioned Rock’n’Roll. France's Overdrive deliver this in spades, and this energetic four piece have been burning the boards since 2015, having apparently burned through fifteen drummers and an equally scary number of bassists before cementing on their current line-up. With a couple of albums already in the bag, this EP is about keeping the profile moving whilst the world recovers from the pandemic, and with three tracks in under twelve minutes it’s not about depth.

What we have is three solid and sweet rocker-rollers in the Australian tradition, which means loads of Gibsons, Marshalls and a chord structure that should probably owe the Young family some royalties. You Cheated On Me is exactly the sort of grooving track that gets bike rallies going, with energy, enthusiasm and nice high vocals to go over that catchy chorus and riff structure. Factory is a bit slower in pace, but drips Razor’s Edge era AC/DC with bravado and aplomb. They know where they’re coming from; we know where they’re coming from, but it works so who cares? Calling the last track Forever Young might give you the answer to that question, as it takes in all five chords of the masters’ gamut.

It’s difficult to comment on the production, as this is one of those occasions when the PR or management machine has elected to send out really low bit rate .mp3 files that can make even the best production sound like it was recorded in a biscuit tin in Adelaide. But it sounded like a big fat rock sound was what was being aimed for, so I will give them the benefit of the doubt there. It’s not going to score points for originality, but it works. 8/10

Reviews: Helloween, Klone, Dead Witches/Witchthroat Serpent, Hacktivist (Reviews By Matt Bladen & Paul Hutchings)

 Helloween - Helloween (Nuclear Blast) [Matt Bladen]

There are a lot of bands that go through significant line up changes. It is mainly singers and these can lead to the arguments of so and so is better or this is the 'classic' line up. Even if the 'second' so get has been a part of the band for much longer than the original ever has. Notable examples of this are Marillion, Sepultura and of course Helloween. Since 1994's Master Of The Rings, the German power metal stalwarts have been fronted by Andi Deris, his gutsier, more ragged tones had a lot of Helloween fans up in arms but he has now been at the mic for Helloween for nearly 30 years. Despite this there will always be a collection of fans who consider only the line up featuring previous vocalist Michael Kiske and guitarist/vocalist Kai Hansen to be the 'proper' Helloween. No yes this line up did record the seminal Keeper Of The Seven Keys Parts I & II but times change and bands evolve. However every now and again, whatever the motivation my be, a bit of magic happens, the planets align and it turns out you can please all of the people all of the time. 

Born out of the Pumpkins United shows from a few years ago. Helloween is the sixteenth studio album from the band of the same name and adds Kiske and Hansen to the five piece line up of Deris, Weikath, Gerstner, Grosskopf and Löble resulting in a triple guitar attack and three vocalists. Across the album we the listener get treated to every musical shift Helloween has gone through in their long careers. Nearly all the songs feature Kiske, Deris and Hansen shifting between lead and backing vocals but there's a definite difference between the songs each of them take the main lead for. When Andi is behind the mic we have the tougher, darker and more cinematic style that Helloween have forged between the 90's and 2000's but with Michael it's galloping speed metal and massive ballads albeit all with a 2021 production shine, Kai also gets his turn with the thrashier sound of that pre-Kiske era. 

The slow build intro to Out For Glory leads into a double kick driven power metal anthem with Michael Kiske getting the first go before he starts to duel with his vocal compatriots, I must say as soon as the vocals started I got a shiver down my spine, it's SO GOOD to hear him back singing Helloween songs and this opening salvo is exactly what you want from any sort of Helloween album, but especially this one, next is Fear Of The Fallen a meatier, more modern Helloween sounding track the trio of guitar players shredding up a storm, Daniel Löble's brilliant drumming keeping perfect time, injecting pathos when needed locked in with Markus Grosskopf's thundering bass playing. The band themselves call this "the complete metal universe" with Best Time having callback to the anthemic party tracks like Dr Stein along with the albums Pink Bubbles Go Ape and Chameleon (calm now) whereas the shouty Mass Pollution is straight up Walls Of Jericho thrash. 

As we progress through this history of Helloween, Rise Without Chains brings back that glorious Helloween Teutonic power metal as Indestructible has an massive chorus that must be forged in those Pumpkins United shows as a live anthem. The synergy from this seven piece is brilliant considering the amount of time Kiske and Hansen especially have been away from the band. This may be a one-off release (although that hasn't been confirmed) but it's a hell of a one off, perfect journey through the history of Helloween with the key players involved. The final track Skyfall is a 12 minute Kai Hansen penned epic in the tried and tested style of Keeper Of The Seven Keys or Halloween closing the album with a majestic all encompassing track with three guitars, three vocalists and rampaging rhythm section all at full power on a cinematic scale. Helloween is a brilliant record that encapsulates why the band have lasted so long in the topsy turvy music world. I loved this record, any Helloween fan will. 9/10

Klone - Alive (Kscope) [Matt Bladen]

Recorded across two shows, one in The Netherlands and one in their native France, Alive is the debut live album from French atmospheric/introspective art proggers Klone. They have released a number of albums but this record brings together songs from their 2015 album Here Comes The Sun and 2020’s Le Grand Voyage, the last one being released on Kscope. Only right then that this live album has been released on Kscope almost like a gateway into the brooding musical menagerie of Klone, but also because of the current situation, the album acts as a way for Klone to give back to their loyal audience by including some of the excellent tracks from Le Grand Voyage along with favourites, which were part of a setlist that was cut short by the pandemic. Engineered by their live sound engineer Chris Edrich, Alive captures the essence of Klone in full performance mode, both crowds are very involved with the shows, cheering when required but hushed when there are the slower, atmospheric moments. 

The wonderful Yonder is the first track we hear as the crowd dies down, the ringing guitars of Guillaume Bernard and Aldrick Guadagnino echoing quietly as Yann Ligner's vocals call out with emotion, the heavy rhythms Julian Gretz (bass) and pulsing drumming of Martin Well building the track into a sorrowful euphoria that shifts into the pulsing intro of the throbbing Rocket Smoke. There's little crowd interaction, except for a few thank you's, but it means that the music does the talking, benefitting the record as it becomes more of a compilation than a live record. This is due to the engineering which makes it sound almost like it was recorded in a studio. Some of my highlights are the yearning Breach and Nebulous along with the heavier riffs of Immaculate Dream and The Dreamer's Hideaway. With Anathema calling it a day last year, I would love to see Klone become the go-to band for emotional, soul-bearing music that makes you have a good cry. I also want to see them live again, so this record has done its job. 9/10 

Dead Witches & Witchthroat Serpent – Doom Sessions Vol 666 (Heavy Psych Sounds) [Paul Hutchings]

A split EP from Heavy Psych Sounds, this split is one in a series that the label are releasing. Featuring new tracks from UK doomsters Dead Witches and French outfit Witchthroat Serpent, this is thunderous, riff heavy doom with plenty of fuzz to embrace. Die is the 14-minute meandering track from Dead Witches, the outfit formed by Electric Wizard founder Mark Greening. With the band having had a frequency of line-up changes, it was uncertain whether Greening would continue but with a new line-up in place, guitarist Rab Mcilrath, bassist Sam Cutbush and the harrowing screams of new vocalist Spring Thompson the band have made a statement here which should please those who indulge in the occult-tinged doom. It may meander but there is a real intent and drive to the lengthy song that ebbs and flows like a mighty river. Thompson’s clean vocals are strong, whilst her razor-edged howls strike a chilling note. The combination of Cutbush and Greening make for a solid and thunderous rhythm section which allows Mcilrath to sheer off glacial sized riffs which crash with massive echo. 

French band Witchcraft Serpent have been plying their trade for over a decade and it shows in these two gloomy, misery filled songs that are both lumbering, giant tracks. The longer of the two, Cyanide Laced Flavour is the eerier song, with the use of audio clips, retro sound and distortion making it a challenging but rewarding ear splitter of a listen. The Fall Of Whitewood which precedes Cyanide Laced Flavour is more traditional if such a thing exists with slabs of concrete coated riffs bursting out in a manic, barely restrained explosion of sonic delight. Both tracks bring plenty to the table and combined with Dead Witches make this a Split EP of considerable interest to those with an interest in the riff. 8/10

Hacktivist - Hyperdialect [Paul Hutchings]

I’d heard the name Hacktivist of course, but I admit I had no idea about their sound. I thought they were technical Djent. It was something of a surprise to discover that Hacktivist is a UK grime-metal quintet. What does that mean? Well, don’t ask me about grime. It’s what means my windows need cleaning – the downside of living on a main road, but I digress. It’s a combination of fast-talking couplets, delivered with an onslaught of verbal sewage that pours out from the dual vocalists Jot Maxi and J. Hurley and backed by a thick, heavy riff-driven soundtrack that sounds like a combination of Meshuggah and Korn. After two tracks my head hurt, and I longed for some Thin Lizzy or Rainbow.

There are certain genres that don’t do much for me and I’m afraid this is another to the list. However, there are definitely bits to identify with; the pumping bass line and the riffing certainly work well with the stream of consciousness that flows forth on songs like Luminosity and the pulsing Armoured Core (featuring Kid Bookie.33, and the electro vibe of Turning Tables with its explosive, relentless drive. Diving deeper into the album we find Hacktivist in no mood to accept the world today. Their question everything attitude is about as topical as you can get it, and the band are in no mood to mess around. “Hyperdialect isn’t an album for people to just casually listen to,” J. Hurley insists, “we’ve taken things to the next level, which I didn’t even think was possible. We spit the truth. We are the truth.”

It’s an album gripped with social commentary and injustice. It bristles with anger and outrage and acts as a voice for the voiceless. It’s time for questions. With a brutal triple vocal attack, bassist Josh Gurner bringing growls to the party, it’s unsurprising that the band’s approach is to tease and teach through their lyrics. “We are the voice of the people, of this planet,” J. stresses. “We don’t see ourselves as above anyone. We’ve got a chance and a platform to speak, so we’re gonna speak wisdom. We’re not just gonna speak any old jibber jabber. We’re gonna keep it anti.”

I think the best option for this album would be to invite you to listen to it on release and decide for yourself. I like parts of it, but the incessant vocal tsunami, backed by a rather repetitive musical style found my attention wandering. Clearly not the way it should be. So, no rating to this record but a challenge to sufficiently broad minded to give it a go.

Reviews: Fear Factory, Slave Steel, Terra Odium, Atreyu (Reviews By Paul Hutchings & Matt Bladen)

Fear Factory – Aggression Continuum (Nuclear Blast) [Paul Hutchings]

 

The album many feared would never arrive is finally here and my word, has Dino Cazares pulled out all the stops, not to mention all the riffs in a battering, pulsating 48 minutes which is as gripping as any movie I’ve seen for many years. It may be as well to gloss over the background to the first album by Fear Factory for six years. Suffice to say, the legal challenges and actions are now resolved with Cazares now 100% in control of the band and the Fear Factory name. The irony is that Aggression Continuum features arguably Burton C Bell’s finest vocal performance since Demanufacture. Full of the trademark snarling and roaring aggression mixed with soaring clean vocals, Bell’s contribution was recorded over three years ago by all accounts. It’s a real shame because in Aggression Continuum, Fear Factory have unleashed an album that is likely to figure in my top ten of 2021. 

Mixed by Andy Sneap and produced by Damien Rainaud, the sound is crisp, the delivery perfect for the sonic soundscapes and dystopian nightmares that Fear Factory have been crafting for the past 30 years. The riffs are intense, the keyboards of Igor Khoroshev rich without overpowering and the drumming of Mike Heller (at least that is what is credited to on the band’s website) thunderous. Most importantly, Cazares has brought together another concept album that contains songs that work. The rage of Disruptor is as brutal as anything the band have unleashed in the past, Bell bellowing “Disruptor” as the pounding bass and guitar riffs kick in. Fuel Injected Suicide Machine is a battering ram, the futuristic industrial tone dominant, the tsunami of riffing a constant hammer drill to the head. There’s plenty of melody which lurks throughout the album, you just must listen for it. 

Elsewhere, the pulsing drama of Manufactured Hope speeds along, the sci-fi feel of Cognitive Dissonance with its semi-electro style combined with a blistering tempo and the closing ferocity of End Of The Line all stack up as quality songs. After three decades and plenty of aggro, it’s unlikely Dino Cazares cares too much what the non-Fear Factory fan thinks about this record. He’s rightly proud of an album that must have been astonishingly painful to complete. The fact that he’s got there speaks volumes. Where Fear Factory go next will be interesting. Cazares has confirmed he wants to tour the album. Who will replace Bell could be key in the future of the band? But for now, just sit back, and enjoy. 9/10

Slave Steel – Dream Of Decadence EP (Self Released) [Paul Hutchings]

Combining old school death metal with a thrash ethos, this four track EP from London based Slave Steel is 19 minutes of ferocity, vicious riffs and driving rhythms. The band started in Rome in 2008 before relocating to London around 2015. Benefiting from a decent production as one would expect when mastered by Jens Bogren, the EP’s concept revolves around the loss of innocence: a nostalgic reflection of adulthood disillusion. Each track explores a different level of awareness in the process of experiencing and understanding the world. 

The music is solid, the ebb and flow of Shut bringing a change from the maximum heads down thrash of opener Ogre Cage, a song that features a slightly uncomfortable video. Blessed is a slightly slower paced track but retains the harsh edge that is a characteristic of the band. Pil Nazzari’s rough, growling vocals are likely to be divisive, such is their gravelled edge, but they work well with the intensity of the music. Final track Decadence is explosive, full of Machine Head style thrashing which evolves into a groove laden finale. With the promise of gigs as soon as possible, Slave Steel will be worth looking out for in the coming months. 7/10

Terra Odium - Ne Plus Ultra (Frontiers Records) [Matt Bladen]

It seems every month we feature a band that has Steve Di Giorgio cropping up as bass player. The man has more cameo/featuring appearances than Stan Lee! He contributes bass to this debut record from Norwegian progressive/technical metal band Terra Odium, formed by drummer Asgeir Mickelson and vocalist/lead guitarist Øyvind Hægeland both of whom are former members of established Norwegian metal act Spiral Architect. Ne Plus Ultra is their debut album and sees Bollie Fredriksen playing rhythm and lead guitar while Jon Phipps gives this record the swells of synths and orchestration. With the membership sorted on to the the music itself and it seems that Terra Odium are really trying to be Nevermore throughout the record. 

Their progressive metal sound is much heavier than say Dream Theater bringing more thrash and death metal to the table, they've been compared to Cynic or Atheist and that's certainly where the bludgeoning, off-kilter heaviness of their instrumentals come from. I'd say that they have much more of the sound forged by Queensryche and Fates Warning. Vocally though there is a determined effort to try and be as close to the much missed Warrel Dane as they can with limited success it's only when the booming throat of Tristania's Kjetil Nordhus does it get close. If you're looking for a band that is at the darker, heavier end of progressive metal then you could do worse than picking up a copy of Ne Plus Ultra. 6/10

Ateyu - Baptize (Spinefarm Records) [Matt Bladen]

Atreyu's new album Baptize is 15 tracks long, I mean that's probably too many songs, especially when those songs are all much of a muchness. I'll be honest here and say that Atreyu have passed me by. I know they were around in that first wave of American metal and they straddled metalcore and nu metal. but further than that all I remember is seeing pictures of their headband wearing guitarist in old editions of Kerrang. It seems as if they have embraced the more electronic pop sound that is very popular right now, on this eighth album, there's lots of fuzz and big choruses, unfortunately there is little else to distinguish it from a lot of pop music, notice I said pop not metal, this is deliberate as it's pop that is the biggest influence. Despite featuring Matt Heafy, Travis Barker and Jacoby Shaddix they can't save this from being a one of the worst albums I've heard this year. Insipid and uninspired perhaps it's telling that their founding vocalist Alex Varkatzas left before the album was fully realised. 2/10   

Reviews: Machine Head, Interpolant, Sickrecy, Social Disorder (Reviews By Paul Hutchings, Zak Skane, Paul Scoble & Simon Black)

Machine Head – Arrows In Words From The Sky EP [Paul Hutchings]

It’s been a soap opera in the Machine Head camp in the past few years. Barbed comments following the departure of Phil Demmel and Dave Mclain in 2018, a lukewarm response to Catharsis and some social media outpourings that made Robb Flynn a somewhat bizarre figure. But underneath all of that, the Machine Head fans have remained loyal and time moves on. The pandemic has seen MFH active on social media and in preparation for the 10th album, the band have released a three-track EP, Arrows In Words From The Sky. Become The Firestorm kicks things off, a raging thrashy affair, with Flynn’s snarling gruff vocals roaring from the start. The song is fast, the drumming propelling the track forward, with a neat breakdown which combines clean and rough vocals on the chorus. A typical MFH change in tempo at about 1:50 sees the pace slow, huge riffs reminiscent of The Blackening era as Flynn spits his vocals. Dual guitar harmonies lead to another change of pace before the song descends into manically fast speed with a screaming solo exploding out of the speakers. This leads back to the main hook bringing the track to a blistering close. 

No Rest As Rotten immediately follows, a change in direction with a massive chug driving the song, Flynn returning to The Burning Red era with his vocal delivery, the chorus a bit of an earworm. Once the track gets moving, it has all the typical MFH components, plenty of lyrics, the shrieking guitar tone and a massive riff which dominates. A slower overall pace which once again harks back to The Blackening in feel and the addition of some clean harmonies slightly changing the feel of the song. Another breakneck solo leads to a fist pumping opportunity before returning the initial format and chug and a horrible fade out. It’s a track that I haven’t warmed to on the first few listens, but it may well become a live staple. The title track wraps things up and it’s another interesting one. Much more use of clean vocals, and a more measured tempo. The song has a melancholic feel, opening with a gentle guitar as a backdrop to Flynn’s singing. It feels big, using harmonies and echoing effects before a big riff kicks in along with some thumping double bass kicks. More melodic than the other two songs, Arrows In Words From The Sky builds slowly, the temperature increasing gradually. 

It’s more mainstream than much of their work, with another big breakdown around the three-minute mark as it segues into an angry lead break before returning to the mellow, reflective tone as it concludes. What to make of it all? It’s certainly contemporary Machine Head, although Flynn has taken the decision to draw on past musical styles, especially the most successful era of the band. Will it make Machine Head more relevant? I doubt it. But do they need it or do they care? Probably not. The band who was tipped for world domination in 2007 appears now to be purely a vehicle for Flynn. I can’t even name the other members of the band, apart from Jared something (Jared MacEachern formerly of Sanctity - Ed) on bass. But there is a resilience which I must admire. And that has to be applauded. Machine Head may not be the force they once were, but there is still plenty in the tank. The new album will be interesting if nothing else. 7/10

Interpolant - Arbor (Terminarch Records) [Zak Skane]

Interpolant is an extreme metal solo project (created by Tobias) that has began in mid 2020 during the mist of the Covid-19 pandemic where guidelines were being announced on a daily basis and riots were being held against the government. Interpolant goes against the “typical” musical norms when it comes to rhythm and structure by keeping listener on their toes with unique scale and note progressions as well as applying synthesizers to his sound to push the sonic boundaries of the extreme metal sound. Listening to the album, I got to admire the sheerer brutal-ness that this album maintains whilst keeping it raw and genuine. The opening track Aspen Grove swells in and slaps you straight in the face with low tuned guitars and furious blasts beats backed with synthonic strings that consistently ramp up the tension throughout the song. 

Sycamore demonstrates Tobias’s vocal abilities by showing us how low he can go whilst providing some fast paced phrases that will please any Whitechapel fan. Tannhauser Gate and Monument show off Tobias’s orchestration skills with combining theatrical sounding synthesizers with death metal instrumentation creating more cinematic/video game soundscapes. Overall the instrumentation on this album sounds great, Tobias’s death growls sound deep and meaty, the bass and guitars sound chunky, drums sound punchy human and the synthesizers sound retro and dreamscapey but also holding there place in the mix without sounding too thin or overpowering in the mix. 

My biggest criticism that I found on the album is that the vocal patterns on some of the songs (for example Aspen Grove, Sycamore and Semper Virens) and I think there could been some added high pitched vocals that could of verified the vocal tracks to give them some more depth. If you are a fan of bands like Rings Of Saturn, Cannibal Corpse and old school Whitechapel check this album out. 7/10

Sickrecy - First World Anxiety (Spikerot Records) [Paul Scoble]

First World Anxiety is Sickrecy’s first release, as the band only formed this year. Sickrecy is made up of Adde Mitreoulis and Marcus Dahl who between them have played in Birdflesh, General Surgery, World In Ruins and Damned To Downfall. Sickrecy are based in Sweden. Sickrecy play a very classic style of Grindcore, so this EP has six tracks and a total run time of just 17 minutes, it’s short and to the point. The EP is packed with tight as anything blast beats, and some very energy packed parts in between all the blast beats. In addition to all the lovely grinding goodness is a load associated nastiness, you’ll find elements of Crust Punk, D-Beat and even a little bit of old school death metal. 

All the tracks have huge amounts of energy and drive, the great riffs and exciting tempos crackle with vigour, vibrancy and dynamism. On my first listen to this EP the first album I thought of to compare this to was Terrorizer’s legendary first album World Downfall. I can also hear similarities to Nasum and Rotten Sound, and if those comparisons aren’t a compliment, then I don’t know what is. First World Anxiety is a cracking Grindcore EP, for a first recording it is extremely impressive. I’m now looking forward to a full length from Sickrecy, because if this is what they can produce as a first attempt, I am dying to hear what they can do once they have had a bit of practice! 8/10

Social Disorder - Love 2 Be Hated (AFM Records) [Simon Black]

This is an interesting project. It’s the brainchild of Anders "LA" Rönnblom (Killer Bee/X-Romance), and is a deep and dark journey through the darker side of his life experiences. Its highly autobiographical subject matter sees him opening up about some of the bumps along the road of life including alcoholism and failed romance, plus other full on life experiences, to a soundtrack of his musical influences and with a quite spectacular cast of guest musicians, a few of whom no doubt fond the subject matter familiar. Tracii Guns, Rudy Sarzo, Jeff Duncan, Dave Stone, Snowy Shaw, Shawn Duncan and Leif Ehlin is an impressive roster to say the least, but the real gem in this record is unknown vocalist Thomas Nordin. He’s got a soulful and Blues-filled Hard Rockin’ voice that made me think that Joe Lynn Turner was also involved (although the younger Nordin’s range is way higher) and despite the impressive instrumental back line is firmly front and centre of the mix, more than capable of holding the fort from the front. 

The song writing on here is really strong, well-structured and at no point sounding like this is anything other than a really cohesive band. The pace and speed varies aplenty, but generally this is steeped in retro Rock, plus a few high tempo belters with a healthy dollop of Southern soul in this and slide guitar aplenty to go alongside the more trad tropes. There’s huge dollops of 70’s groove on here, with liberal helpings of Hammond organs tucked away in there in case you didn’t get the references although the modern feel of some of the fast tracks makes it clear that this isn’t about pure retro for the sake of it, only where it helps with the autobiographical tone. It’s not a particularly long album either, but has a concise flow to it that means the ten tracks on here fly by effortlessly. 

Ballad The One feels like it’s where the album should naturally end, but there’s an extra instrumental track Wings Of Serenity included on here. First off it feels like it’s been taken from another recording sessions, as the mix is completely different, but it also showcases that these folks have the ability to deliver more technically complex and intricate music alongside the groove, as you would expect from musos of this calibre and experience. It’s hugely enjoyable, standing up after several listens and introducing a frontman that I now really want to see play live. 8/10

Metal To The Masses 2021 Interviews: Black Lakes (Interview By Matt Bladen)

Interview with Black Lakes by Matt Bladen

MoM: Give us an introduction to the band for anyone that doesn't know you. Band name, members, style etc?

Black Lakes: We are Black Lakes, a six piece alt-rock/metal band from South Wales & Southwest England.

MoM: Elephant in the room. How have you coped with the pandemic? What have you been up too?

Black Lakes: We've had a pretty cool year despite not being able to meet up at all, so no practicing at all which has sucked! We have been working on material for the debut album online though, which has proven to be very productive, and something we intend to carry on with even after restrictions ease entirely. Our crowdfunding for the debut, which is still open, surpassed its target, which really blew us away! We also put out two singles despite the lockdown, as those were already in the can, so all in all, we did as much as we could, Covid permitting!

MoM: What experience have you had with Bloodstock/M2TM in the past?

Black Lakes: Two years ago now, we competed in a M2TM live heat in Bristol. We didn't get through, but we had a great night, and are looking forward to trying our luck again this year!

MoM: How are you feeling entering this slightly restructured M2TM format?

Black Lakes: We're confident that whatever the format, the material we have been working on is of a high quality, and we're keen to play it live for the first time at M2TM

MoM: What would it mean to play Bloodstock? Would it be more significant doing so this year, after everything that's happened with live music?

Black Lakes: Obviously playing such a prestigious festival would always be massive for us, but it's fair to say after the 18 months or so that we've had, it would be a really big deal. Playing live has always just something we've enjoyed doing, but it wasn't until it was taken away from us that we realised just how much we needed it in our lives. I can guarantee there are many bands out there, ourselves included, who will never take it for granted again!

MoM: Give us a three word rundown of what to expect in your performance?

Black Lakes: ENERGY QUALITY PASSION

Final Thought: Could have that x-factor to muddy the waters of the judges choice. 

Metal To The Masses 2021 Interviews: Royal Glam (Interview By Matt Bladen)

Interview with Royal Glam by Matt Bladen

MoM: Give us an introduction to the band for anyone that doesn't know you. Band name, members, style etc? 

Royal Glam: Royal Glam are a four piece Glam/Heavy Metal band from South Wales. They are; Steevie Dentz (Guitar and Vox), C.C Belle (Guitar and Vox), Johnny Thunder (Drums) and F-ROG (Bass). Their sound has been compared to early Kiss and Van Halen as well as Mötley Crue and Vain. Originally formed in 2010, but revived and resuscitated in 2020 with more energy than ever. 

MoM: Elephant in the room. How have you coped with the pandemic? What have you been up to? 

Royal Glam: The pandemic is directly responsible for us writing new material as we've been practicing hard (social distanced style) between Cardiff, Bristol and Newbury when possible. When that's not been possible Steevie and C.C Belle have been penning lyrics and practicing their vocal chops in parks and green spaces across Cardiff. The pandemic has also given our new bassist F-ROG time to get familiar with the old material ready for the stage. We’ve also managed to start work on the recording of a new single and b-side. It’s been a bit of a disjointed experience but we’re hoping to get his out before the M2TM Cardiff Event. 

MoM: What experience have you had with Bloodstock/M2TM in the past? 

Royal Glam: We've had no previous experience playing Bloodstock or a M2TM event other than seeing some of our friends bands play M2TM events in the past. We are really excited to have this opportunity to play with great bands and hopefully introduce some new people to our music. 

MoM: How are you feeling entering this slightly restructured M2TM format? 

Royal Glam: We are just grateful to be playing a live event again, even in a restructured format. It’s been way too long and will be a blast no matter what the format is. 

MoM: What would it mean to play Bloodstock? Would it be more significant doing so this year, after everything that's happened with live music? 

Royal Glam: It would mean the world for us to play Bloodstock this year and share energy and good vibes with like minded people who have been deprived from live music. It would be life changing for the band to get its name on such a high profile event and we'd love to keep the momentum going by touring and spreading the name Royal Glam. 

MoM: Give us a three word rundown of what to expect in your performance? 

Royal Glam: OUT FUCKIN' RAGEOUS

Final Thought: Have the glitter and spandex ready, Royal Glam have clearly come to party!